Vera Farmiga

From her first appearance on movie screens in the mid-1990s, actress Vera Farmiga built up a long resume and increasing critical note for dramatic work in largely independent films. Like many independ...
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2013 Emmy Nominations: The Full List of Nods

It is a bit of unfortunate irony that the film genre most reliant on shocks is wont to spit out the least surprising entries on the market. While a good horror movie is an unappreciated gem, most of them wind up conflated with its interchangeable brethren, difficult to distinguish in any way other than its headlining cast (and even there you're bound to see a ton of overlap). Most horror movies don't have a lot to show in the face of originality, which is why it is such a disappointment when one with actually venerable material shifts it to the sidelines in favor of the same old song and dance. The Conjuring, a culprit of this crime, doesn't know what kind of majesty it has in its team of exorcists: a spiritually-inclined, ghost-busting expert Ed Warren (Patrick Wilson) and his even more adept, albeit frequently ghoul-afflicted, wife Lorraine (Vera Farmiga), their eager lackey Drew (Shannon Kook), and a skeptical lawman who saddles up for the expedition at hand — the abolition of the evil inside the Perron household. But the real nightmarish infestation here: the Perrons.
While most of the scenes devoted to the crack team of demon hunters are scary, emotional, fun, or just plain interesting (a high point in the movie comes in the form of a somber, macabre montage that oversees the foursome upholding their routine of keeping peace in the haunted home), the film lends a good deal of its attention to the frightened civilians, Roger (Ron Livingson) and Cynthia (Lili Taylor) and their endless supply of daughters.
In the Perrons, we do get some charm, primarily from the talented young players — if we haven't already learned that Joey King is headed for greatness, the bright light she shines through the less interesting factions of The Conjuring will solidify this notion. But aside from some naturalistic family undercurrents, most of the Perrons' time onscreen is ensconced in worrisome gasps.
It's nothing you can't find in any other horror movie on the shelves... I mean, Netflix sub-menus. Meanwhile, the far more intriguing dynamic of the professional team brought in to absolve the family of their nightmares is swept under the rug.
But this might not be a problem for all. There's a reason that the horror genre feels like an assembly line of identical cogs: it works. People want a certain thing out of their scare flick, and that certain thing is delivered in all of the big box office winners and cult frenzies. As such, to all those seeking little more than a few jump scares and some haunting imagery, The Conjuring should satisfy. After all, nothing tops a freaky doll in the chills department. But if you're the sort of horror-goer who looks for something new — the sort who has seen the "based on a true story" advertisements and inventive marketing and thought, "Now this one looks different!" — you might in fact be in for a surprise. The not-so-great kind.
2.5/5
Follow Michael Arbeiter on Twitter @MichaelArbeiter | Follow hollywood.com on Twitter @hollywood_com
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The Conjuring hasn't even hit theaters yet, but New Line is already working on a sequel. James Wan's demonic possession thriller opens, but it has already had incredible test screening results and strong reviews.
The film, which is set in Rhode Island in 1971, is based on the work of real-life paranormal investigators Ed and Lorraine Warren, played by Patrick Wilson and Vera Farmiga. They investigate a haunted house where the five Perron girls, whose parents are played by Ron Livingston and Lili Taylor, are being terrorized.
Toby Emmerich, New Line president, spoke to Variety about the film and its sequel. “Horror is very much a part of the DNA of New Line — Nightmare on Elm Street, Friday the 13th, The Rite, and the Final Destination films,” he said. “This is as good a horror movie as we’ve ever made…. We think it will have great playability.”
Emmerich said that New Line is exploring the potential for a franchise based on the Warrens' investigations, some of which have already been made into films, including The Amityville Horror and The Haunting in Connecticut. "We have Lorraine's permission and support, and we are working on developing another film," Emmerich said.
The sequel will be written by brothers Carey Hayes and Chad Hayes, who also wrote The Conjuring. They interviewed Lorraine Warren extensively while they were developing the script.
The Conjuring opens Friday, and if Wan's previous horror films Saw, Dead Silence, and Insidious are anything to go by, it's going to be a terrifying weekend.
Follow Jordyn on Twitter @jordynmyah | Follow Hollywood.com on Twitter @Hollywood_com
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Thanks to its whip-smart brand of self-aware and pop culture-savvy humor, Scream (and Scream 2, for that matter) brought the horror genre back to life in the late '90s. Scream 3 and Scream 4, on the other hand, effectively reminded us that everything the '90s made cool, the 2000s have destroyed.
Still, the bloody, hilarious, and scary saga of Sidney Prescott (Neve Campbell) and her band of fortunate and unfortunate friends (RIP Randy) and foes is regarded as one of the all-time great horror movie franchises. So it's of no surprise that MTV (the very network whose viewers went out in droves to see the films) announced on Thursday at their upfront presentation that they would be bringing Scream to the small screen. It's especially no surprise considering they've had success with adapting Teen Wolf and making it their own.
But, here's where it gets a little scary: according to release from the cable network, "MTV and Dimension Films are in discussions with various writers for the potential series which would be slated for a summer 2014 debut on the network." Unless one of those various writers includes the brilliant scribe of the original, Kevin Williamson, this could spell trouble.
Other things to consider: will the "new" Scream stray from Sidney entirely and just use the famous horror namesake, like Bates Motel is doing over on AMC? (There's certainly no mention of Campbell joining on for the series). Will it follow the diabolical masked killer week in and week out, like, say The Following? Will it slaughter whatever good memories we have from the first two movies (and some of the fourth, admittedly)? It's as nerve-wracking to think about as Drew Barrymore's brutal opening scene in the 1996 original.
On the bright side, the release adds that "Dimension Films is in discussions with the films’ original director Wes Craven to direct the one-hour pilot." Okay, this might just be a scream after all. And hey, anything is better than Scream 3.
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Here’s a little lesson in Murder 101 for my readers: if you’re going to kill a guy, especially if it’s in self defense after being violently attacked and you’re not Buffalo Bill, you don’t keep a souvenir. You don’t keep a memento from the corpse. You don’t, like Norman Bates, keep the dead guy’s belt. The police will invariably find it and you’ll be in hot water.
However, if you do keep the belt of the dead guy you’ve killed you’ll then have to pray very hard for one thing: that A) you can get romantically involved with one of the cops investigating the case and B) that cop is also helping run a human trafficking ring so you can turn the tables and paint him into a corner, if necessary. That’s what Norma, Norman, and Dylan succeeded in doing in “The Truth,” an episode that felt like a midseason finale in the way it swiftly wrapped up a lot of the biggest narrative strands of the season thus far — except that this is cable so we’ll have a brand new Bates Motel episode waiting for us next week. I hope you’re watching how it’s done, Network TV.
“The Truth” opened with Norma in a psychotic rage over the Chinese sex slave Norman presented to her. It proved that her boyfriend Shelby had been involved in the sex trafficking ring Norman and Emma had been investigating and that she had been woefully misguided in trying to pursue a romance with him. She got in her car half-cocked and tried to speed off for, in all likelihood, a violent showdown. Norman grabbed onto her car door as she tried to motor away, but she couldn’t shake him off. He jumped through the window, took her keys out of the ignition and through them away. Blind with fury, she said that she just wanted to talk to Shelby. Norman knew better. The main thing was that his Mom was so tired of seeing people get away with s**t. But to take down Shelby, you’d need a little bit more finesse.
So Norma calmed down pretty fast. So quickly in fact that she figured out how to manipulate Emma into not going to the police about Shelby. That wouldn’t be good, after all. Even with his sex slavery, he still had Keith Sommers’ belt and could destroy Norma and her son. Norma convinced Emma that they should let the poor girl rest until she’d truly be ready to go to the police, and in the meantime they’d keep her in one of the cabins. And to seal the deal Norma bonded with her over her past. Emma said that her mom had abandoned her, leading Norma to return that “she deserved better.” Emma practically jumped into her arms for a hug. How bad of a home life do you have to have to want to be a part of the Bates family?
Dylan quickly become an MVP when it comes to finding and eliminating evidence. He had a feeling that since Shelby and Keith Sommers had obviously worked together in the human trafficking ring, that maybe Shelby was keeping the latter’s belt on Sommers’ old boat. So he and Norman went down to the docks and broke in. Dylan always has to stir the pot, however, so he told Norman he thinks his mother killed his father. Why else did they pick up and leave without any word?
Back at the Bates Motel, Shelby showed up. And he was itchin’ for a little action from Norma. This put Norma in an impossible position: have sex with a man she despises just to stall for time…or what? So they start to have sex. But then Shelby heard water moving through the pipes of the motel, meaning that somebody else was staying there. And Norma had been saying that the place was vacant. Curious. He walked from cabin to cabin and finally stopped at the one the poor sex slave was staying in. He shouted, “Police!” And the girl came running out. She fled into the woods and Shelby got a shot off at her before Norma could intercede. We don’t know if she was hit. Neither did Shelby, so he ran into the woods after her. As soon as he left, Norman and Dylan returned, and Dylan announced that Norman was coming to live with him. A boy’s best friend may be his mother, but that boy needed to get away. Of course, before they could get any further with this, Shelby returned, gun drawn, and walked everybody up to the house for a little chat.
Shelby is obviously a psychopath. He sat everyone down around the kitchen table and started saying things like “Why are you making me do this to you?” as he was pointing his gun at Norman’s head. He then decided he would beat up Norma for the fun of it, and the son began to go into one of his detached-from-reality episodes. To Norman all went quiet. The only thing he knew was that his mother was in danger. So he charged into Shelby like a madman, allowing Dylan to grab his gun. Before long Dylan and Shelby were having a gunfight all throughout the house. Dylan managed to shoot Shelby in the leg, but he ran out of clips, meaning he’d have to run upstairs to get more. Shelby followed him up that famous staircase Arbogast will one day ascend, and we half expected that someone — Dylan? Norman? — would come charging out and stab Shelby on the stairs. That didn’t happen.
Norma and Norman made it to their car. Norman had suffered some kind of head injury and was zoned out. Finally, Mother called the police. They’d get help…although I don’t know how kindly they’ll take having to shoot at one of their own. The bigger problem was that Norma had forgotten her car keys, so they were stuck motionless in a getaway vehicle that wouldn’t provide any getaway. And just then Shelby came stumbling out of the house after a few exchanges of gunfire. He got to their car, raised his gun…and collapsed before he could get off a shot. The crisis was over. Well, all except that they’re going to have to explain the presence of this dead cop on their property and convince the police that Shelby was part of this organized crime ring when their key piece of evidence, the sex slave, was nowhere to be found.
Dylan wanted to tell the cops everything, including about what happened to Keith Sommers. He really believed, also, that Norma had killed Sam Bates. So Norma decided to level with him. Sam was beating her brutally one day, and finally Norman just had enough. He went into one of his “zones,” just like he did when he charged into Shelby and knocked Sam unconscious with a blender so hard that it killed him. (The fact that he likes to kill people with a blender makes him a spiritual cousin of Mark Moses’ Paul Young from Desperate Housewives, with Sam as Mrs. Huber.) Norman never even knew what he’d done. And based on what he’d just seen Norman do in the fight with Shelby, Dylan believed her.
Let the cover-up commence!
Is this show moving fast or what? Are you excited for where it’s going right now? And how do you think they’ll explain all of this to the police?
Follow Christian Blauvelt on Twitter @Ctblauvelt
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So you'd think Norman would be flying higher than a kite after presumably sleeping with Bradley last week. But your mother's arrest for murder could be a bit of a buzzkill. Poor Norman. Every time he tries to express a natural human urge something horrible happens that you just know will inevitably taint sex for him forever. The first time he hung out with Bradley and her friends, his mother was raped. Now he actually sleeps with Bradley, and Norma is arrested.
Norman met his mother at her attorney's office, and she wouldn't even return his gaze. Dammit, she will be the only woman in her son's life! When he asked her to just look at him, Norma obliged with the creepiest stare you've ever seen in your life. She wasn't much nicer to her attorney, who was trying to come up with a self-defense story for why she killed Keith Sommers, a guy with a known history of violence. Norma wouldn't have it. She was so morally justified in her actions, she didn't have to explain herself at all. The charges would just somehow miraculously be dropped.
Well, maybe it is reasonable to think that way when your boyfriend is a sheriff's deputy working on the case. Cue Creepily Sexual Dialogue Between Norman and Norma #1: When she indicates that she can get Shelby to fix the case in her favor, Norman replies with "What are you going to have to do for that?" We all know, Norman. Norma fired back with Creepily Sexual Dialogue Between Norman and Norma #2: "You went out and got laid when I was staying home and worrying about being taken away from you!" She ended up telling him to get out of the car and walk home. So wait, is Norma going to turn on Norman and disown him the way she did Dylan?
Who should be driving along right behind them to pick Norman up? Dylan, of course. After they originally came to blows in Episode 2, they've become pretty close buddies. And now Dylan's offering for Norman to come live with him, as soon as he can squirrel away enough money from working with the mobsters for him to rent his own place. Even if the case against Norma is dismissed, the offer still stands for his brother to come live with him.
So just as expected, Shelby fixed the evidence in Norma's favor...ensuring she'll be his pawn forever. He removed the carpet fiber from the Bates House that had lodged in Keith Sommers' watch, which I guess was the sole piece of evidence against Norma. The case was dismissed.
Unfortunately, Norman knew that Shelby was a bad, bad guy after seeing that sex slave he kept in his basement. He wanted to forget about that whole incident and focus on his mom's situation, but they're kind of inseparable. His other "girlfriend," Emma, wasn't about to let it drop, so she roped him in to exploring Keith Sommers' boat. A boat he probably used for human trafficking, possibly in collusion with Shelby. They found the boat, and, my, it was yar. But its sole passenger was...the sex slave they found in Shelby's basement! She came out ready to fight, fearing she was about to horribly abused once again. But they calmed her down and brought her back to Bates House. Norma was not pleased. But they showed the girl a newspaper photo of Shelby and she recognized him right away. Now Norma couldn't deny that her boyfriend is a sex slaver. Things are going to get ugly.
Things weren't too great for Dylan either. He had just borrowed money from his fixer employer Ethan so that he could rent a place for him and Norman, when a junkie shot Ethan in the neck. The guy started bleeding out, but will most likely survive. Later, Dylan found that junkie wandering in an ally, revved the gas, and ran over the guy. We've got some cold motherf***ers on this show.
Oh yeah, and while we're talking about resentment and all, Norman was a little upset that Bradley hadn't returned his phone calls ever since their apparent tryst. What gives? Of course, Bradley's rival Emma suggested it was just a hook up and not indicative of a real relationship. Either way, Norman's distrust of blondes is really starting to settle in.
What did you think of "Ocean View"? Are you impressed by the swift clip of the show thus far? Is it moving too fast?
Follow Christian Blauvelt on Twitter @Ctblauvelt
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A&amp;E is having something of a moment. Just a day after the success of Bates Motel led the network to announce the Vera Farmiga-starrer's second season, A&amp;E is rolling out its next dramtic attack: a crime thriller called Those Who Kill. The 10-episode series will star Chloë Sevigny and sounds a wee bit like AMC's soon to be rebooted crime series The Killing, with a side of Fox's The Following.
The series is set to air in 2014, with the focus on Sevigny. She stars as Catherine Jensen, a young, smart detective who (shocker of all shockers) tracks down serial killers. Much like The Killing's Sarah Linden, Sevingny's character comes with a handsome partner — Thomas Schaffer (James D'Arcy), a forensic psychiatrist (which is a fancy way of saying he evaluates suspects mental states). Together, they take on serial killers, but of course Jensen's got some demons of her own (hey, that's Linden's thing too!): she suspects her stepfather may be a serial killer himself and she's coming to terms with the disappearance of her 16-year-old brother. And if the similarities aren't enough, Those Who Kill is adapated from a Danish series, just like The Killing.
Of course, A&amp;E Network president Bob DeBitetto says in a press release that this serial killer show is going to be different. "Those Who Kill is not a crime procedural about serial killers – it’s a deep serialized character portrait of two compelling yet damaged individuals coming together through the revelation of their dark past."
And to be fair, as much as we love to joke about the overuse of serial killers on television, we've got to admit, about half of the programming on any given night would be dead in the water without them.
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That was quick. We’re only four episodes into Bates Motel and Norma Bates is already wearing handcuffs.
After shirking her son’s advice to come clean about defending herself against Keith, her attacker and rapist, Norma’s decision to throw the body into the ocean is showing itself to be a poor one because a very telling piece of evidence in the form of Keith’s severed hand with carpet fibers from the Bates Motel has just come ashore. Norma’s goose is cooked, but is the series moving too fast already?
It wasn’t like Norma hadn’t put in the effort to save herself from a jail cell. She’s been sleeping with Officer Shelby - a truth we’re now very sure of thanks to a nooner in one of Norma’s unfinished motel suites. And she almost had it all under control, even the part where she wanted Norman and her new beau to bond and get along.
That was a tall order after last week’s explosive conclusion, which found Norman in Shelby’s basement with a Chinese sex slave begging at his feet for him to rescue her. This week, we jump back a few minutes to see that Dylan was the man on the motorcycle when Norman was walking down the highway towards Shelby’s house. He follows Norman to the cop’s abode where he actually buys his brother time to escape from the basement by knocking on Shelby’s door for directions. He swears he won’t tell Norma, clearly unaware that her murderous moment is the thing that’s driving all this.
After Shelby stops Norman on the street the next night and tries to offer up his friendship, Norman sees only one way to get this man, who holds Keith’s belt and a big ol lump of evidence over his and Norma’s head: he tells Norma about the sex slave. It takes no time at all for Norma to take a post coital stroll to Shelby’s basement, which is significantly less barricaded this time and has your average piles of boxes and exposed light bulbs where Norman saw a sex dungeon with mood lighting. Again, Norman’s strange tendencies are brought into question and Norma accuses him of seeing things, despite the bruise on his ankle which he thinks he sustained from the poor sex slave grabbing his leg as he escaped.
Bruise or not, Norma insists that Norman go on Shelby’s awfully premature “I’m screwing your mom” bonding session: fishing on a nearby creek. Luckily for Norman, he gets the chance to feign trust in Shelby (who for some reason can’t read Norman’s lies as clearly as we can) before he’s called away to the scene of Keith’s severed hand.
It takes no time at all for the sheriff to make a connection to Norma. He may not know about Keith’s belt, but he finds carpet fibers under the watch on his friend’s ex-hand and he’s sure it’s connected to the carpet Norma ripped up the night of the murder. Plus, he’s got the element he’s yet to expose until this week: he grew up with Keith, so he knows he had the capacity to harass Norma enough to drive her to murder. It’s a layer that really helps the series develop beyond bad cop chases anti-hero. The sheriff sympathizes with Norma, and possibly knows what kind of hell Keith was capable of putting her through, but he’s also committed to the law and she’s breaking it over and over again.
There was little doubt Norma and Norman wouldn’t be able to intercept the evidence before the sheriff and his officers could get to it, but Norma was determined not to play nice with the police even after the sheriff tried pretty earnestly to help her as best as he can. The result is Norma with all her limbs hanging on the fence at the dump, shaking it as if the answer to her giant problem will come spilling out. It doesn’t, but her confession to Norman does: she didn’t stab Keith in self defense, she “killed the crap out of him.” With that, it’s not long before she loses Norman’s loyalty and her own freedom.
While his mother is getting cuffs slapped on her wrists, Norman has officially abandoned her: he acted like any other 17 year old boy. After bonding with Dylan, who Norman spills the entire story to, Norman manages to bond on a more average level. Norman has spent all episode comforting Bradley in the wake of her father’s death and Emma’s complete and total absence thanks to the flu. Sure, he tells her father he’s “decent” when the British expatriate tells him his daughter has a crush on him, but Bradley is crying behind those fancy sunglasses of hers and Emma is laying in bed with an illness. So when Bradley texts Norman “hey” at 10 PM, Dylan does his brotherly duty and sends the younger Bates off to make out with the hot girl from school, which is exactly what Norman does. Of course, when his encounter with Bradley descends into a breathy, blue-tinted scene of two presumably naked teens frolicking under the sheets, we have to wonder if this another moment meant to make us question reality versus Norman’s reality.
Either way, it seems it’s the last bit of respite young Norman will know before his whole world implodes even further. Even with Dylan on his side and his separation from Norma and her borderline psychotic decisions, Norman is inextricably involved in Keith’s murder and Emma’s mission to find and free the alleged Chinese sex slaves. You can't help but feel for poor trapped Norman. While his decision is what's going to break Emma's heart (and likely soon, the way things are moving), how can you blame the kid who's clearly not the most unhinged person in his tiny, little family?
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The folks at A&amp;E have apparently enjoyed their stay at the Bates Motel, so much so as to solidify a second visit less than a month after the thriller's series premiere. The program has earned a second season over at the cable network, as announced on Monday in an A&amp;E press release (via Deadline):
"A&amp;E Network has picked up a second season of the acclaimed drama series, 'Bates Motel' starring Vera Farmiga and Freddie Highmore from executive producers Carlton Cuse and Kerry Ehrin, it was announced today by Bob DeBitetto, President and General Manager of A&amp;E Network and BIO Channel. The premiere of 'Bates Motel' garnered 4.5 million total viewers and 2.5 million adults 25-54 and 18-49, based on Live+7 viewership, making it the most-watched original drama debut in the key demos in the network’s history."
Based loosely on the characters and themes of Alfred Hitchcock's classic Psycho, the Bates Motel program follows widow and motel manager Norma Bates (Farmiga) and her son Norman (Highmore) as their toils take them through a ganglion of tragic and eerie stories.
Bates Motel presently airs Monday nights on A&amp;E; 10 new episodes of the series have been ordered for 2014.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
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[Photo Credit: A&amp;E]
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While not technically a horror film, David Fincher's deeply disturbing 2007 film Zodiac is easily one of the scariest films to come out in the past decade. It's the kind of movie that crawls under your skin and stays there much longer than you'd like it to, thanks to hard-to-shake scenes like the stabbings by the lake (shudder) and that infamous basement sequence (shudder). The use of Donovan's already-creepy tune "Hurdy Gurdy Man" only made the film that much more effective in freaking you out to your very core.
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So it was awfully wise of the folks behind the upcoming horror flick The Conjuring — which seems to take its cues from more classically classic horror movies like The Amityville Horror, Poltergeist, and The House on Haunted Hill — to use it in their trailer, as it immediately sends a chill down your spine.
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While the first trailer was pretty effective by building on tension (Lili Taylor, you really shouldn't have gone into that basement), the new, full-length trailer goes straight for all of the jump-out-of-your-seat thrills and scares, including that damn nightmare-conjuring song. After yet another family moves into yet another secluded farmhouse (take notice folks, these things are teeming with unsettled spirits) ghost hunters/supernatural experts Ed and Lorraine Warren (played by Patrick Wilson and Vera Farmiga, respectively) learn the hard way this will be their worst case yet.
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Watch the trailer here, and decide for yourself which is scarier: that final music box scene or Patrick Wilson and Ron Livingston's sideburns.
The Conjuring opens in theaters on July 19.
[Photo credit: New Line Cinema]
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Played a police psychiatrist in Martin Scorsese's mob drama "The Departed"

Featured as the grown daughter of Christopher Walken's retired gangster in "The Opportunists"

Appeared as the wife of a low level mob flunkie in Wayne Kramer's "Running Scared"

Reteamed with Denzel Washington in action drama "Safe House"

Co-starred with George Clooney in Jason Reitman's "Up in the Air"; earned Golden Globe, SAG and Oscar nominations for Best Supporting Actress

Made Broadway debut as an understudy in "Taking Sides"

Played medival battler Catlin on the adventure series "Roar" (Fox)

Co-starred with Sam Rockwell in the dramedy "Joshua"; film screened at Sundance

Played the mother of an adopted child in the thriller "Orphan"

Co-starred in Anthony Minghella's "Breaking and Entering"

Appeared in the comedy "Dummy" opposite Adrien Brody

Co-starred in "Love in the Time of Money"; film premiered at Sundance

Had supporting role in "15 Minutes" as a murder witness who gets involved with a criminal investigator (Edward Burns)

Nominated for the 2009 Academy Award for Best Performance by an Actress in a Supporting Role ("Up in the Air")

Summary

From her first appearance on movie screens in the mid-1990s, actress Vera Farmiga built up a long resume and increasing critical note for dramatic work in largely independent films. Like many independent film actresses, Farmiga was passionate about exploring a wide range of complex, nuanced lead characters; also like those same actresses, her options were limited in the world of male-dominated Hollywood films. Farmiga stuck to her dramatic convictions and over more than a decade, she advanced from memorable supporting roles in films including "15 Minutes" (2001) to the acclaimed lead in "Down to the Bone" (2004), a little-seen film about a working class mother battling drug addiction. As her film festival street cred grew, Farmiga caught the eye of more character-driven filmmakers and had the chance to appear before larger audiences in studio films like "The Departed" (2006) and "Up in the Air" (2009), where she showcased her fine work at crafting layered, realistic female characters.

Education

Name

Syracuse University

Hunterdon Central Regional High School

Notes

"I can't do Los Angeles. I've always been the anti-Barbie. I don't want to be in a place where almost every woman walks around with puffy lips, little noses and breasts large enough to nourish a small country." – Farmiga to Movies Magazine, February/March 2001

"It's such a barbaric world we're creating and living in. I think that every choice I make is with that in mind. How will that choice contribute to the chaos, and how will it maybe not? How can it? I live a pretty humble existence, which makes it possible. And I just want to live in a gentler, more refined world. And I have a simple existence in the country." – Farmiga to The Los Angeles Times, July 8, 2007